A Blog with reviews of opera performances, interviews and articles about opera and classical music in general
by a group of musicologists and music professionals

Monday, 26 September 2016

Richard Strauss, Salome - Stadttheater Klagenfurt

Performance 24th September

After a well-deserved little break I started the new season with Strauss' Salome at an operahouse I've not visited before. The Stadttheater Klagenfurt is one of Austria's city theatres and opened their season with Strauss extremely complex opera about the femme fatale from the biblical story. Already quite progressive during its time of origin it still does not fail to captivate the audience with its sheer brutality and decandence. The Klagenfurt production was led by Michael Sturminger and convinced with a very coherent concept. He brought the plot into the present without creating great ambiguity and showed a very intimate and yet thrilling direction. Especially the conduct of the characters seemed very naturally and not as mannered as in many other productions. The stage and the costumes were made by Renate Martin & Andreas Donhauser and also supported the plot very well without being to obstrusive.
Musically conductor Alexander Soddy did a great job leading the Kärntner Sinfonieorchester with great passion, accuracy and musicality. Despite of some smaller inaccuracies the orchestra managed the highly comlex and difficult score very well. Also the volume level was very appropriate and they did not cover the singers. The extremely opulent Dance of the seven veils went very smoothly and was probably one of the highlights of the evening.
The many small roles were cast quite ambivalent with some very good performances and some a bit boring ones. However the overall impression was still positive.Christiane Döcker as Page had the chance to show her sensual dark mezzo voice that has a very soft and warm timbre. Also Mathias Frey convinced with a very young tenor voice with a bright youthful timbre and a very even tone.
The Herodias of Ursula Hesse von den Steinen was very expressive with a very dramatic voice. Sometimes there could have been a bit more balance, but alltogether her performance was fine and satisfying. As her husband Herodes we heard Jörg Schneider who gave a brilliant performance even though the audience was told that he might be a bit sick. However he sang this difficult tenor role with a powerful, bright and clear voice. His top notes came so easily that it was really impressive and it was definitely one of the best performances this evening.
Same is valid for Michael Kupfer-Radecky as Jochanaan. Though he was singing from under the stage during his first lines his powerful baritone voice filled the whole auditorium. His voice is definitely Wagner proven and probably best described as heroic, warm and sonorous at once. Without problems he managed the sometimes very high tessitura of this role and gave a wonderful performance.
Finally the title role was sung by German soprano Anna Gabler who also did a very good job. While having a very dark soprano voice in the middle register her upper register is bright and clear. Some of the top notes could have been a bit more relaxed but alltogether she gave a great performance. Not only musical but also acting-wise she convinced as the spoiled young princess and showed that this role suits her voice very well.
Alltogether it was a very enjoyable evening (if you can call Salome enjoyable) and the Stadttheater Klagenfurt showed a good performance. They did the best they can with their possibilities and succeeded with a ravishing thrilling evening full of opulent decandence. Therefor I give 8 stars to the Salome production in Klagenfurt.✰✰✰✰✰✰✰✰- -
Reviewed by Daniel Url

Daniel Url, B.A.

Daniel Url is a Musicologist from Salzburg, who studied in Salzburg (Austria), Trondheim (Norway) and Newcastle upon Tyne (United Kingdom). His research interests are opera (especially German opera), theory of the fine Arts and vocal music in general. While living in the wonderful town of Salzburg (with the great Salzburg Festival around) he is also travelling to some of the great opera houses in Germany and Austria from Leipzig over Dresden and Vienna to the Bavarian state opera in Munich.

Daniel is the founder of this project and also our main editor and author. For questions, notes or any business inquiries:

daniel0url@gmail.com

Lukas Leipfinger, B.A.

Lukas Leipfinger is a student in Regensburg and is recently doing his Master in German Philology after graduating in German Philology and Musicology. He joined the project in september 2015 as Co-author and is our specialist for male voices. His main interests cover operas from Richard Wagner and the verismo.

Christine Arnold, B.A.

Christine Arnold completed her undergraduate degree in musicology and dance science at Salzburg Universität in Austria and Newcastle University in England. Now she is proceeding her master in musicology and piano studies at the Folkwang Universität in Essen, Germany. Her musical interests are widespread but she counts Verdi's and Mozart's operas to her favourite ones.

Katharina Schiller, B.A.

Katharina was born in Munich and started studying Mathematics/Physics and Musicology there in 2010 and 2011 before moving to Salzburg and continue her studies there. She is a singer herself (choir and solo) since 1995 and is visiting operas regularly. Katharina is our specialist for 17th and 18th century opera.

Genevieve Arkle B.A.

Genevieve Arkle is completing her Master’s in Musicology at King’s College London and in September will be starting her PhD in Music at the University of Surrey. She focuses her academic work in late nineteenth century aesthetics and analysis, and will be writing her PhD project on Mahler’s Ninth and Tenth Symphonies and their relationship with Wagner’s Parsifal. Alongside her academic studies, she has worked with the Royal Opera House with the Jette Parker Young Artist’s Programme and for the English Touring Opera contributing to their Autumn 2015 season and working as Programme Editor of their Spring 2016 season. Most recently she was invited to be a guest writer and journalist for the Orchestra of the Age of Enlightenment for their performance of Mahler’s Second Symphony, contributing programme notes and interviewing Mezzo-Soprano Sarah Connolly.